Change Your Image
dougdoepke
Ratings
Most Recently Rated
Reviews
Missing Girls (1936)
A Bunch Of Characters In Search Of A Story
The first several minutes where Ann leaves her abusive father's family for the city looks promising. But once she gets a job there, the vulnerable girl more or less drops out of central focus, and the movie goes with it. What we get instead is a mish-mash of characters having to do with gambling, newspapers, and murder. It's like the three writers each had his own subplots without much blending. On a positive note, catch how legalizing gambling with its tax revenues foreshadows an issue of our own time. Good to see a young Ann Doran, who later became quite a formidable actress as her credits demonstrate, along with old crone Vera Lewis who's enough to scare Superman. All in all, however, it's a flick that can't seem to make up its mind. Too bad.
The Astounding She-Monster (1957)
Whatever It Is, It Oozes
So what do you do when you've got $1.80, a yen to make a movie, five free days, and 50's drive-in theatres crying out for more monster flicks. Well, what could be more logical than making a monster out of a near-naked girl, blurring the screen, and walking your five person cast around LA's Griffith Park. And just to show you're no doofus, drop in some highbrow talk about economics and the state of the universe. So why worry about a plot when you've got what every hormonal roadster guy wants to see, or at least what the blue-noses will let him. Well, by golly, head movie honcho Ashcroft did it and his flick even landed in the record books: The 100 Most Amusingly Bad Movies Ever Made. If groans count as laughs, then include me in. And, oh yeah, it does beat the heck out of a politician's speech.
Telephone Operator (1937)
Surprisingly Well-Done
Lively, well-made programmer from lowly Monogram, with a great look at how telephoning used to work. Get a load of the old-time technology, back when calls had to go through switchboards with operators to plug you in to your party, maybe requiring row after row of nimble fingered women. It's quite a sight and contrast to today's magical cell-phones.
Seems Red and humorous sidekick Shorty are linemen who keep the phone lines operating across long distances. It's a heckuva job, climbing high poles in all kinds of weather. Plot-wise Red's got a crush on cutie operator Helen who's plenty distant at first. But of course things warm up when they battle to keep lines working during a monster rain and flood.
Happily, there's plenty of snappy dialog as the characters bounce off one another before settling down, while director Pembroke keeps things moving. Then too, the raging flood footage blends in skillfully with the dramatics to create a bigger budget effect. And catch the artful rising water in the phone office; that had to be studio sets, but you'd never know it. The humorous asides are also well modulated and smoothly inserted. It helps too, that the actors appear geared into their roles, especially Allen who centers the film.
All in all, for a programmer, it's extremely well-crafted, showing that budget need not determine quality when, thanks to a common effort, the elements come skillfully together.
Hollywood on Trial (1976)
A "Must" For Students Of The Time
On the whole, the 105-minutes presents an impartial documentary on procedures leading up to Hollywood's post-war blacklist, along with later commentary from many of those involved. The first part is spent on footage from congressional committee's investigations of 1947 headed up by Parnell Thomas. It was from these hearings, rather than Sen. McCarthy's controversial probes of the early 50's, that the Hollywood purges were ignited.
Actually, as the docu points out, the blacklisting itself was initiated by studio moguls at a 1947 meeting at the Waldorf Astoria in NYC. There the moneymen were understandably concerned with audience fallout from what the hearings had revealed. After all, the Cold War was just then heating up, and commies had now replaced fascists as the official enemy. So a number of movie pro's were caught in the sudden switchover. Then too, many of the same lefties were active in efforts to unionize studio craft workers, also bitterly battled by the moguls. So the stage was set.
The second part focuses mainly on interviews with "The Hollywood 10", including Trumbo, Cole, Dmytryk, et. al, along with adversaries like Reagan and Wheeler. These are illuminating given the 20-some years that had passed since the blacklisting events. It's these interviews, that, unlike the first part, are not found anywhere else, at least that I've seen. On the whole, there's very little voice-over narration, more of which at times might have been helpful in tying parts together.
All in all, the assembled footage presents a live glimpse of a controversial period in America's political life. And perhaps just as importantly, without clear partisanship, though the interviews are weighted towards those who lost their jobs as a result of the process. Thus the film's essential viewing for those concerned with constitutional principles when these are put to the dramatic test.
So's Your Aunt Emma! (1942)
Pitts Outshines The Cluttered Plot
It's an eye-catching title, sure to get attention of wartime audiences looking for escape. Pitts' character Aunt Emma is an inventive comedic creation. On one hand, she's a sedate old maid ruled by two prim sisters; on the other, once outside their influence and taking up with newspaper reporter Terry (Pryor), she gains self-confidence and transforms subtly into an assertive mastermind. Too bad the clotted narrative crowds her transformative humor; that is, until the end when she gets needed showcase having mastered the street-tough lingo of that day. It's like Mother Hubbard sounding like Al Capone.
The supporting cast includes familiar faces, such as Fowley, Hymer, Elliot, and Coffin. But I especially glom onto Elizabeth Russell. With her cat-like eyes, once you see her you don't forget her, as the great Val Lewton knew when he cast her in a number of his classic horror films of the 40's, eg. Cat People (1942).
All in all, it's an unusual light-hearted crime flick that unfortunately piles on too much plot that the clever Pitts and her fluttery humor must compete with.
Here Comes Trouble (1948)
Madcap, Non-stop
Unabashed madcap with Tracy playing a character named Dodo, which about says it all. Biggest surprise, for me at least, was tough guy Joe Sawyer doing comedic hijinks, and well too. Seems Dodo's gotten promoted to police reporter by newspaper boss Blake because it's literally a dead-end job, which means the inept Dodo won't be around to marry Blake's daughter Penny (Lloyd). But things quickly complicate ending in a madcap spree on a stage show that's funny but over-extended. Anyway, for guys there's plenty of eye candy, especially Woodbury as a stripper, and drop-dead gorgeous Lloyd looking a lot like Jane Russell's sister. (Too bad Lloyd dropped her brief career soon after this; I wish IMDB knew why.) All in all, the sub-hour's a lot of silly knock-about, but good for some laughs as everyone gets in on the goofy act.
(In passing-- Watch for bony-face Charles Middleton best known as Ming The Merciless as a non-speaking reporter in one of the crowd scenes.)
Song of the Trail (1936)
Ride'em Cowboy !
To me, the oater's centerpiece is Maynard acting like a circus acrobat on the back of his horse Rocky. That comes early on, but his athletic moves continue throughout and are impressive as heck making me feel like a garden slug. Otherwise, the flick's a fairly standard kids matinee. Bad guy Arnold schemes to win a mining deed from gambling addict Hobson (Hayes) in a crooked poker game. Hero Carter (Maynard) battles Arnold's gang in an effort to get the deed back to needy Hobson. He's helped by sidekick (Knight) and Hobson's daughter (Leeds).
There's mostly hard riding around scrublands of greater LA, along with some fast shooting and flying fists-- standard stuff for matinee programs. However, silent screen actress Brent really registers as tough saloon girl Myra, who's abuse by Arnold is reflected in her sensitive inner moments. Also, catch Gabby Hayes in a straight role, again showing his versatility as a lot more than a comedic old grouch.
Anyway, it's a decent programmer with some novel camera shots and boisterous saloon crowds that add good marginal touches. So if you're an old front-row kid like me, don't miss it.
Tough Kid (1938)
Lively If Unexceptional
Snappy little Monogram programmer that hardly stops for a breath. Good thing since the plot's none too original. Seems young Skipper (Darro) helps train his brother Red (Purcell) who's on his way to a championship fight he's expected to win. Trouble is gamblers get involved and blackmail Red into losing the fight by hijacking his intended wife (Allen) through an elaborate scheme. But will Darro and buddies stand for it.
Darro's Darro, a junior sized dynamo who doesn't walk from here to there, but bolts instead, maybe a younger version of the great Cagney. Here however he's basically a nice kid, concerned with his brother and aging mother. In many ways Darro personified youthful fighting spirit of the Depression Era 30's, especially in that underrated Wild Boys Of The Road (1933). On the other hand actor Purcell hardly registers, but that's okay since Darro carries the film. Don't look for much eye candy, but do expect a ton of boxing in the ring, maybe too much for the hour's runtime.
All in all, it's a spirited exercise with some suspense since we can't be sure whether Red will throw the big fight or not.
The Killing (1956)
A Slightly Different Approach
No need to echo plaudits for this, one of the most finely crafted crime films in Hollywood annals. Instead, I want to pick up on some of movie's unusual aspects for its time period, the 1950's. As I recall, TK was the only film this young movie freak was captivated enough to see twice.
Most atypical of the 50's is that for a crime film honest cops are hardly seen anywhere, except for security guards at the track, and have no role in cracking the case. No Dragnet here. In fact, it's a ditzy old lady and her purse-size doggie that ruins Hayden's get-away. That bit of delicious irony was not only compelling for that day but for this day too, which shows that even the grandest designs can be brought down in the most trivial manner. I suspect that's a big reason I paid money to watch a second time.
Then too, the criminals are humanized in unusual fashion. That is, we understand why the gang members turn to crime-- except maybe for De Corsia's crooked cop which may have been too much for Kubrick to risk. Also, Sawyer's track attendant with the sick wife is especially poignant. In fact, it's hard not to root for the brilliant robbery plan, entrepreneurial as it is. The humanizing element here is in contrast to the criminal stereotypes of the time who presented hardly a touch of ambiguity.
Then there's the sexual innuendo, masked, but present nevertheless. Flippen's gay designs on Hayden I'm sure went past most audiences of the time when such topics were forbidden on both big screens and little. It certainly went past my teenage grasp. But I salute Kubrick for sneaking it in at a time when the Hollywood production code was breaking down.
And of course, there's the dramatic centerpiece-- wimpy Cook's doomed marriage to a heartless Windsor. I'm conjecturing a bit, but based on the elliptical dialog, I think Cook's basic problem, besides being wimpy, is chronic impotence. Given Windsor's overbearing manner, his difficulties would be understandable. So, to substitute for bedroom problems, Cook feels he must prove himself by getting rich by fair means or foul. Anyway, impotence was another forbidden topic even when it pivots the plot as in The Barefoot Contessa (1954).
And lastly, only a flick like this would dare use such a zany character like Timothy Carey. After all, the 50's was the decade of glamor and convention, making him like an onion in the tulip patch. I only wish his role here were bigger, but he does add a distinctive kind of color, and would be an unforgettable oddity in Kubrick's successor film Paths of Glory (1958).
All in all, I think these are some reasons the heist film separated itself from the 50's pack and, remains a classic to this day. At the same time, it shows Kubrick looking effectively ahead, as his career would prove, and not safely behind. Come to think of it, now that the wife's left the room, I think I'll give my DVD another look-see.
Other Men's Women (1931)
Heckuva Riveting Train Ride
When Bill slaps the waitress's rear in the opening scene, we know the flick's definitely pre-code. Wow, director Wellman and Co. sure make scary use of the freight yards and locomotives; it's about as realistically a grungy background as I've seen. It's almost like a strange breeding ground for darkly iron monsters. In fact, the star of the show may well be these roaring creatures from the steel lagoon.
The premise may not be cutting edge-- two buddies both in love with same girl (Astor) who's also the wife of one. Still, we wonder how it will play out as the buddy-rivals muscle around a big locomotive cab. So which will come first: the buddies or the girl. The acting is not too restrained, especially the drunken Bill (Withers). But then this is 1930, just a couple years into talkies. And catch the abundant slang of the time as the working guys talk like they're just that. No parlor-room dialog here. Then too, there's Blondell as Blondell, a sassy waitress who could take my order any day. And early Cagney has a supporting role that doesn't yet show his killer stuff. But then, Public Enemy is still a year or two away.
Nonetheless, it's Warner Bros. hitting on all eight and showing why it was the studio of record during that turbulent decade. All in all, the early programmer remains a riveting 71-minutes.
Hopalong Cassidy Returns (1936)
A Non-Formula Hoppy
Ace Hoppy western, a little long on talk but with a number of good touches. Hoppy is summoned to a corrupt town after a gold prospector is murdered for his claim. In town he finds a number of sinister types, including a crafty saloon hostess, a mustachioed bad guy, and a tough gunslinger. Good thing Buddy (Janney) and Windy (Hayes) are there to help.
Wow, catch hostess Lila's frilly black gown-- looks like it may eat her head; also, looks like her whole wardrobe comes from Ming the Merciless. I love that opening face-off between Peg-leg and Windy for the Grouchy Old Geezer Championship. And catch Morris Ankrum as scary bad guy Blackie; I'm glad he converted to a lordly scientist so he could save 50's audiences from all those horrible space monsters (e.g. Rocketship XM {1950}).
Anyway, wait for the end when all the expected hard riding, fast guns, and open spaces fill the screen. Also, note the unusual relationship between Hoppy and good-bad girl Lila; it's got some depth to it. In fact, the 74-minutes is rather philosophical in places as the dialog suggests. Anyway, it's a little different Hoppy showing again what a fine actor he was, something not expected of the usual matinee hero.
(In Passing-- back in the 1950's Hoppy and Topper would ride in LA's New Years Day Rose Parade. He always made a point of waving to the kids and stopping in places to say 'Hi'. Boy, did that make kids like me feel special. Thanks Mr. Boyd.)
The Man from Laramie (1955)
Complex but Memorable
On his way to a mixed-race village, a lone cowboy seems mysteriously fascinated by charred clothing he finds on the trail. Once in town he finds little more than conflict between himself and a rancher's family, including the crafty foreman and a belligerent son. So what's going on with the lone cowboy and his apparent mission.
If you've got a yearn for wide-open spaces, this is the western to catch. From desert flats to rocky cliffs, the screen's filled with Mother Nature at her most expansive. Happily most of the action takes place among these great sights. To me, the vistas are the movie's best feature among stiff competition. For example, it's also an exceptionally well-acted oater, though O'Donnell seems a little too delicately saccharine for a frontier gal. Nonetheless, Kennedy is in fine form as the crafty Vic, who's an excellent foil for Stewart as the lone cowboy Lockhart. And, of course, Stewart is Stewart, low-key, but determined.
All in all, for a western, the storyline's unusually complex featuring a number of subplots. But then, 1955 was a time when Hollywood went for big screen epics in its battle with front room TV's. So producers had to fill out the narratives to increase runtimes befitting more epic proportions and name casts. Here the subplots-- old lady MacMahon, sinister Elam, wacko Nicol-- are mostly agreeable, but don't tighten the impact, which is clearly Stewart's odd relationship with Kennedy. Speaking of impact, there're several memorable scenes that lift results. Maybe the most memorable is Stewart getting dragged through the smoking campfire that's excellently staged and photographed. No doubt that's due to director Mann who knew how to make viewers feel and not just see.
Then too, the difficult father-son relation between father Crisp and substitute son Kennedy is both poignant and sensitively performed. No wonder Kennedy was cast in what amounts to a difficult good-guy bad-guy role.
All in all, it's an ace western, a little loose in construction, but with moments of memorable excellence.
Decoy: Across the World (1958)
A Few Observations
I'll leave the plot recap to fellow reviewer Kapel. Instead, what follows are a few remarks on this unexceptional though entertaining entry. Casey doesn't get much screen time, most going to the plotters. Thus Garland fans may be a little disappointed, myself included. However, the series strength with location shooting is once again in evidence-- a really seedy and atmospheric wharf-side area. No glamour anywhere in this 30-minutes. Also, there's more action (fisticuffs) than usual, though rather poorly staged. Note too how the force that the illegal armaments are being smuggled to remains unidentified. I guess the force must be soviet-related since TV wouldn't want bad guys smuggling arms to Cold War good guys.
And catch what may be the only instances on 50's TV of cold weather misty breathing. The crew must have been filming outdoors during really cold weather, another realistic aspect. Then too, the series notes said the production crew often wore heavy sweaters under heavy coats. But the cast often had to stay in character, so no extra insulation for them-- hope they got extra pay.
All in all, it's an okay story with a really good look at seedier, cold weather parts of NYC.
Hello Down There (1969)
Awkward Concoction
The movie's not as bad as Maltin's Movie Guide claims, giving it only a star-and-half out of four. But the production does squander a novel concept. The idea of a family living in a modular house underwater is inventive. Trouble is the constant underwater fish frolics along with a number of tacked-on subplots distract from what there is of human hijinks. It's like the producers were fascinated with the trained dolphins, seals, etc. They're cute, but enough is enough.
As a result, genuine comedic talents like Backus and Randall are largely wasted, while the 60's rock band is catchy but their lingo is so 'like yesterday'. In fact, the many disparate parts are not well blended making for awkward passages, like the subplot with Bruce Gordon and the naval war ships that more or less just dangle.
Too bad, because the special effects are well done, along with an attractive cast. Plus, the results are attractively photographed in eye-catching Technicolor. Then too, actress Ray, in a supporting role, almost steals the show with her comical shenanigans. At the same time, I hope the many marine critters and their trainers got bonuses for their overtime work.
All and all, the 90-minutes remains a well-meaning concoction. Nonetheless, it looks to me like the producers were pretty much stuck about where to go with their novel premise-- so they struck out in too many poorly combined directions. No wonder the promising premise has slipped into genuine obscurity.
Hot Cars (1956)
Much Better Than Expected
From the title and release date I was expecting jalopy races and juvenile delinquents. Instead the brief 60-minutes amounts to a tight little crime thriller. Poor family man Bromfield. He's seduced into a criminal hot car operation because of typical family problems like money and a sick kid. The crooks run a slick network of stolen cars almost like a regular business. With a needy wife and child, Bromfield adjusts his conscience, getting the kind of security his family's has long desired. I like the way his ethics are compromised in realistic fashion that we can well understand and maybe sympathize with.
For a handsome Hollywood hunk, actor Bromfield brings off his difficult role in surprisingly nuanced fashion. Then there's the busty blonde Lansing parading her measurements in good Marilyn Monroe fashion. Note too the not-so subtle innuendo between her and a straying Bromfield that no doubt pushed the bounds of the fading Hollywood Production Code. However, I couldn't figure out her relationship with the gang, whether it's just me or a flaw in the narrative.
The exteriors are all filmed on LA locations, the car lot, the city streets, that lend an air of urban reality. But most of all there's that white-knuckle climax aboard the rollercoaster at Santa Monica pier. It's a real grabber, made more so by what must have been a hand-held camera that puts us right there inside an upsy-downsy car-- thanks guys, my head is still swimming. Credit producer Howard Koch for the general quality of the results. Over a lengthy career he helped guide such classics as The Manchurian Candidate (1962) and The Odd Couple (1968).
Anyway, it's a neatly packaged little crime drama that almost qualifies for what many old movie buffs treasure most -- a sleeper.
Black Gold (1936)
Lively Little Programmer
Plot-- The O'Reilly father and son have leased an apparently dry-hole oil well and will soon have to turn it back to the owner Anderson if it doesn't soon produce. But is it really a dry-hole or does Anderson know something the well meaning O'Reilly's don't. Meanwhile, will O'Reilly Jr. ever take to book learning, and will the two good-lookers Hank and Cynthia finally get romantic.
The independent production's a well done 30's programmer, with a solid story, good acting, and location filming at a real oil field that also proves eye-catching. (My guess is the Signal Hills site in greater LA.) Even Mason and Darro as well as the extras look dirty enough to be actually working there. Also, youngster Darro scoots around like a little cannonball, apparently doing all his own stunts up and down the rig.
Then too, the romantic interludes between Mason and Shea blend well into the storyline without interrupting it. Also, director Hopton keeps things moving, along with some action coming right at the camera, so be prepared to duck. I guess the only drawback is 'Snowflake' Toones supplying racial humor, but at least he's not heavily mocked and even appears as one of the roughnecks.
All in all, the details add up to nifty hour's entertainment, better than average for its programmer type.
The Desperate Hours (1955)
Bogart Meets "Father Knows Best"
What could be safer in the 1950's than a nice house in upscale suburbia. Too bad the Hilliard family finds out otherwise in this tense but over-extended home invasion flick. It's a Paramount production with the big cheese Wyler brothers in charge. Thus the cast's first-rate along with squeaky-clean suburban neighborhoods that appear as far from crime as Ozzie & Harriet.
The first part is especially riveting as three fugitives fleeing the law invade the Hilliard domicile holding them hostage at gunpoint while the cops (Kennedy) search. Bogart is, of course, convincing as heck as the tough brains of the outfit. But it's really Middleton as the hulking unpredictable Kobish who steals the show. In fact, mom Hilliard (Scott) better fix him a meal or he may shoot her, laughing and chomping all the way. And was there ever a sweeter looking virginal daughter than actress Murphy. No wonder dad Hilliard (March) is sweating blood as the three outlaws ogle her. In fact the drama benefits greatly from the appearance of a truly warm and loving family now under threat as the cops close in. My two minor gripes cast-wise-- pairing the 45-year old Gig Young with the 19-year old Cindy (Murphy), and wasting that superb actor Arthur Kennedy in a routine police procedural role that any number of lesser actors could have managed.
Note too, the many good touches, like the symbolism of the overturned bike that gets uprighted at the end, or dad's nosy office secretary lending realism to the office, or the kissing affection that develops between dad Hilliard and young son Ralphie (Eyer). And, oh my gosh, mom Hilliard must spend every waking moment keeping the family's big house so squeaky clean and unwrinkled, all in good 1950's suburban fashion.
Anyway, there are many tense moments as the fugitives maneuver against the family and cops. However, the single note of passing around guns and family hostages goes on a little too long in order to really peak out. I suspect that was in order to give the A-list cast, especially March, their required screentime. In that regard, I'd recommend the B-movie Shadow On The Window (1957) as a more pointed rendering of the same home invasion theme.
Nonetheless, TDH remains richly evocative of its time, (especially the strong father figure) and a good look at the great Bogart who must have been feeling the effects of the cancer that would soon prove fatal. Still, as his performance shows, he remained a trouper to the end.
Paradise Express (1937)
Trucks and Trains Square Off
Lively Republic programmer. So which hauler's going to get the lucrative fresh produce contract for the valley. Will it be the short-line railroad or the trucker fleet. Each has got advantages, but the racketeer trucking line won't compete fairly, doing what they can to sabotage the rail line, sending box-cars flying here and there. Good thing railroaders Larry (Withers) and Jed (Davenport) are a hard team to beat, even if Larry is the receiver to the bankrupt rail line.
For a programmer it's well produced-- the rail line crashes are dramatically done, plus nicely blended process photography, along with a mob of extras bearing down on poor Larry. Heck, even pedestrian director Kane comes up with some imaginative camera angles. However, crusty old Davenport just about eats the scenery as he storms around in a perpetual rage. Good thing the delectable Appleby is there to soften the visuals. Still, I liked her earlier scenes with an aggressive Larry when she fends him off in spirited fashion.
All in all, it's a superior little production with good pacing, okay performances, and lots of action, but most importantly, an entertaining way to pass an hour. Plus, I learned a lot about the advantages of both kinds of hauling.
Decoy: An Eye for an Eye (1958)
Drugs You Don't Get At The Store
Solid episode with good NYC locations-- snowy roadsides along a river, a city skyline from atop a high rise, and a big-finned car emblematic of the upscale time.
Casey goes undercover as an addict to bust a drug ring after a young woman addict is murdered. Drug themes were novel for TV of the time, only breaking through in the movies in 1955 with Man with the Golden Arm. For fans of Davalos, who unfortunately sort of disappeared after his big East of Eden role (1954), there's a ton of close-ups along with a central role. Also look for the perennial Ed Asner in an early role, as a plain-clothes cop-- oh my, he's almost handsome.
Unusual for the time, Garland breaks the so-called 3rd wall at the end by talking to the audience while still in costume. I'm not sure this was a good idea when the emphasis with locales is on realism. Nonetheless, the entry's a solid dramatic half-hour from a series that needs rediscovery.
Pet Sematary (1989)
When Love Raises The Dead
Well-acted horror flick that had me really believing in a warm loving family. So when little daughter Ellie's beloved cat dies, it's not surprising that dad Louis would delve into an unconventional burial spot to maybe overcome her grief. Trouble is there's more to the unusual sematary (note the spelling) than he expected as the human dominoes begin to fall.
I could have done without much of the phony gore that cheapens the results. Then too, I couldn't always follow the logic, especially with the Pascow character. Why, for example, does his undead persona act as a warning when the other undead do not. Still, the pacing is brisk, while the location filming lends credibility. Moreover, the moral that the dead should stay dead even if they're well-loved is an interesting and unusual one.
Good to see ex-Munster Fred Gwynne picking up a payday, while his character Jud is fascinating- is his friendly neighbor hiding something as his behavior sometimes suggest. Too bad that angle's not more developed. Note too how the tragedies of burial in the semetary are brought about by loving relationships instead of spite or hate. Somehow too, I get the feeling that author King is commenting here on the popular Christian desire for resurrection, which may be why the malicious cat's nick-named Church. However that may be, the 103-minutes remain on the whole surreally riveting- a tribute to what appears a no-name production crew and cast except for Gwynne and King.
Shake Hands with Murder (1944)
Adrian Scores in Spotty Whodunit
A ditzy bail bonds duo (Adrian & Jencks) stand to lose all their money when they gamble on springing a big time executive from jail who unfortunately disappears after release. Then, while tracking him down, they get caught up in a related murder. Now they have to find the fugitive and solve a murder at the same time.
Actually the flick's almost two movies stitched together. The first half features Adrian tracking down the bail bond skipper. But the blonde toughie almost disappears as Fowley takes over the second-half whodunit part. I expect there's a backstory to the odd shift. Nonetheless, color galore is supplied by brassy sassy Iris Adrian as the bail bonds executive. I kept expecting her usual role to arrive with a plate of food or take a dinner order. Still, she's a powerhouse in an unexpected leading part. But pity poor Frank Jencks, her business partner, who she treats like a dim-bulb go-fer, while Douglas Fowley gets to play a good guy for a change. And watch for two other traditional baddies: the mustachioed Jolley and the hulking Stutenroth.
Director Herman films in straightforward fashion without much noirish embellishment or mood. Note how Fowley replaces Adrian in the second half as the detective. He's a more plausible crime-solver, but the ditzy blonde would have made a more creative impression, having her stumbling ways somehow catch the culprit. Anyway, for fans of Adrian, myself included, the programmer amounts to something of half-a-showcase, plus an unusually inventive reveal.
Decoy: Dressed for the Kill (1958)
Fashion Model Casey
Sort of a whodunit as Casey impersonates a fashion model to find out who killed a lovely cohort. Looks like it was the owner's ne'r-do-well son, but is it. The dressing room scenes, I think, are the best. There the girls talk frankly, especially the feisty Betty (Russell), and in stages of undress unusual for TV of the time period. Also, actor Donath gets an emotive number of minutes. Too bad there aren't more NY location scenes, but all in all, it's an entertaining, if unexceptional, half-hour.
Mondo Hollywood (1967)
A Hash with Few Rewards
Overall, the movie's a mess. I don't know what other description to use. There's no structure I could detect, just a bunch of clips thrown together, some interesting, most not. A voice-over or some kind of chapter structure would have helped. Producer Cohen seems to think if he throws in enough nubile breasts at least the guys won't care. Well, it did work for me for a while, but even that eye-full got repetitious. There's also little on anti-war or free love, themes that animated much of the counter-culture, and much in evidence among Hollywood types as I recall.
One well-covered topic is the effects of LSD, a mind-altering drug then making inroads among both young and old. But then there's nothing on marijuana, also making inroads. I also like glimpses of an aging Gene Autry, cowboy hero of my youth, and the iconic Alfred Hitchcock directing Torn Curtain. Nonetheless, snapshots of the many movie celebrities come and go in an eye blink-- in fact movie magazines furnish just as much momentary glitz for those who care. At the same time, too much of the remainder also comes and goes mostly in haphazard fashion. As a frequenter of Hollywood's Strip during that era, I was certainly looking forward to more than I got. So unless you don't mind wading through an aimless travelogue for a few rewards, skip it.
Philo Vance Returns (1947)
Stay Away From The Lipstick
It's an okay Vance programmer at a time when crime films would soon turn to noir. So who's knocking off all the good-looking babes. There were so many I couldn't keep them straight-- such a pickle. Then too, I kept yelling at them to stay away from the lipstick cause it ain't Revlon. Seems handsome rover Blendon keeps marrying them one after another, using his big inheritance as inducement. But now they're headed for the morgue in mysterious fashion. So, in good detective tradition, it's up to Vance and his comic Russkie helper Alexis to figure things out. Good thing the guys don't use lip brightener.
Journeyman director Beaudine films in straightforward fashion, few close-ups, little moody lighting. The guessing game itself is pretty good as the suspects keep accumulating then dying off. However, I do wish ditzy Alexis had more scenes with Choo-Choo Divine, such a great name. Then too, she's played by that great movie floozie Iris Adrian. In my little book, their one goofy scene's the movie's highlight.
All in all, the flick's an entertaining time-passer, with one of the best distaff casts since the Miss America Pageant.
Blondie's Lucky Day (1946)
Dagwood Moves Up and Bumps His Head
So Dagwood can be a true executive if only he can remember to put his pants on. Then too don't let him pick up the check at a fancy restaurant unless you have ear-muffs on. For geezers like me, the series brings back long ago memories, like going through an operator to make a phone call, or welcoming home vets from the war. Speaking of vets, after seeing Sgt. McDermott I think I'll re-enlist, post-haste.
It's a typical B&D funfest though the material slows down a bit toward the end. Seems Dagwood starts up his own construction co. after Dithers fires him. Now if he can just get Butler Sr. to check out his theater plans, his budding enterprise will get a big boost. Good thing there's a Butler Jr. and the cute Sergeant to help rescue his bumbling ways. Of course Blondie's amusingly on hand to stiffen hubby's spine, while Daisy and puppy crew complement the hijinks. Looks like this is actress Orr's only performance (IMDB). Too bad, because she's perfect as the affable army girl, and wholesomely lovely, to boot.
Looks like this series installment was produced at WWII's end with its emphasis on jobs for returning vets. Note too how well the various antics are blended into the whole, none lasting too long or with too much talk. Thus things seldom drag, though the laughs may slow as the comedic material ebbs. The results may not be art, but they do reflect excellent craftsmanship.
Anyway, it's hard to go wrong with one of the best comedy series of that time or any time, as this installment shows.